SDC Triple Bill dance review (Roslyn Packer Theatre, Sydney)

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Dance, Reviews, Stage |
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Grimy zombies getting down to the pulsating beat of late night parties was the audience favourite at the opening of Sydney Dance Company’s new triple bill.  Melanie Lane’s Woof (pictured above) is really about individual and collective behaviour but it’s a thrilling dance work flush with wit and invention. Woof is the final treat in Rafael Bonachela’s typically well-structured program, which

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Cinderella review (Arts Centre, Melbourne)

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Dance, Reviews, Stage |
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Cinderella might be an age old fairy tale, but the sentiment rings true today.  A young woman is trapped in slavery and treated abysmally.  While the rich around her have power and mobility, she can only dream of a better life as she fights to survive.  However, where the story veers from reality is that unlike

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King dance review (Seymour Centre, Sydney)

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Dance, Reviews, Stage |

We should see more of Shaun Parker. Five years in the making, his outstanding new, all-male dance work was over within 90 mesmerising minutes. Parker reportedly got little development support and no major festival gig, but this premiere of King stands tall within the current Sydney Gay and Lesbian Mardi Gras program.  His company is well travelled

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Postcard from Perth Festival 2019: Lang Toi, One Infinity

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Dance, Reviews, Stage, Theatre |

Nouveau Cirque de Vietnam, Lang Toi; Gideon Obarzanek, One Infinity Lang Toi: My Village is a contemporary circus work about traditional Vietnamese village life created and directed by Vietnamese juggler Tuan Le in collaboration with French-born but Vietnam-raised brothers and co-creators Nguyen Nhat Ly (who is also musical director) and Nguyen Lân Maurice (Artistic Director)

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Spartacus ballet review (Sydney Opera House)

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Dance, Reviews, Stage |
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Remade as a muscular, heroic underdog for our times, this new Spartacus is crisp and compelling storytelling. Despite Khachaturian’s glorious, ever-shifting melodies, Lucas Jervies’ choreography does veer to the repetitive and monosyllabic, but he’s a director well versed in the drama of theatre; and with dramaturg, fellow director Imara Savage, knows how to stage a good

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Forever and Ever dance review (Roslyn Packer Theatre, Sydney)

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Dance, Reviews, Stage |
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Antony Hamilton’s new work is like some frenzied techno party, with fantastical costumes, lasers and colour flashes, dancers forged into fractured robots – it all makes you wonder what they’re on. And it makes the first in this Sydney Dance Company double bill, a revival of Rafael Bonachela’s Frame of Mind, seem almost classical, even lyrical. Composer Julian Hamilton, from The Presets, came to his brother Antony with just a few “acid lines” to choose from, one

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